clever little report 2011

pUMA.creAtive

5chapter:

puma.creativeR E P O R T

OFFICIAL

PUMA.Creative Documentary Film Program 79

PUMA.Creative Awards 80

Creative Art Network 83

Marmo Saves Our Seas 85

HOME OCEANS 85

Volunteerism 85

Independent Assurance Report 86

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Expanding on PUMA’s commitment to building a more peaceful and a more creative world, PUMA.Creative in 2010 began a long-term strategic partnership with Channel 4 BRITDOC Foundation to create a series of six awards and programs. The PUMA.Creative Film Program provides financial support, creative counsel and industry recognition to international documentary filmmakers whose creative storytelling highlights social justice, peace or environmental issues. This support and recognition has been instrumental in the development and success of key documentary films to influence public and corporate opinion.

puma.creative documentary film program

Approximately 1,500 filmmakers from over 80 countries applied for a PUMA.Creative Catalyst Award or PUMA.Creative Mobility Award in 2011.

In 2011, the PUMA.Creative Film Program web pages > www.britdoc.org/puma received upwards of 60,000 individual page views, originating from over 120 countries, with a direct and indirect following of over 5.5 mil-lion people on Facebook.

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puma.creative aWardSpuma.creative catalySt aWardSThe PUMA.Creative Catalyst Award is an award of up to € 5,000 that provides resources to film makers in the early stages of a documentary film and encourages the richest representation of voices by offering support to global documentary filmmakers without easy access to broadcasters and film markets. This award puts into action PUMA’s commitment to supporting films and filmmakers with powerful, society-changing stories, whether established or emerging.

42 puma.creative catalySt aWardS Were granted to filmmaKerSfrom 22 countrieS in 2011.

The importance of this award is demon-strated by the success of past recipients, such as ‘Dragonslayer’, which had its UK premiere at the BFI London Film Festival, and ‘Ping Pong’, which has been accepted at important film festivals internationally.

2011 PUMA.Creative Catalyst Awards

no

1 A Spell to Ward Off the Darkness Ben Russell und Ben Rivers

2 African Ninja Banker White

3 Alliance School Paul Taylor

4 Alt Orgs - Sustaining the Human Patricia Murphy

5 Armenia Wants a Piece of the North Pole… and the South Pole, too!

Vardan Hovhannisyan

6 Beyond The Wave Kyoko Miyake

7 Bidesia in Bambai Surabhi Sharma

8 Black Out Eva Weber

9 Cal Summits Luis Ilizarbe

10 Charlie PELE F. Simiyu Barasa

11 Croaked Lucy Cooke

12 Dragonslayer Tristan Patterson

13 Femme à la Camera Perfomance Evaluation

14 Haiti, Billions for aRefoundation

Raoul Peck

15 Ham Without Borders Danielle Shcleif

16 Heralds from the Big World Tatyana Soboleva

17 I Ride 4 Kevin Lucy Walker

18 I, Afrikaner Annalet Steenkamp

19 Kasai Claude Haffner

20 Laureates Kenneth Gyang

21 Logs of War Anjali Nayar

22 Look at My India Pramod Mathur

23 Ntsika: The Pillar Alette Schoon

24 Odin's Raven Magic Nick Fenton

25 One Meal at a Time Alessandra Populin

26 One People Documentary Project Zachary Harding and Justine Henzell

27 Ping Pong Hugh Hartford

28 Rollaball Eddie Edwards

29 Shadow Girl Maria Teresa Larrain

30 Shattered Pieces of Peace Nonhlanhla Dlamini

31 Speed Sisters Geoffrey Smith

32 Taste of Revolution Philippe Gasnier

33 Teenage Matt Wolf

34 The Devil's Lair Riaan Hendricks

35 THE E-TEAM Katy Chevigny and Ross Kauffman

36 The Island of Derek Walcott Ida Does

37 The Last Song Katia Paradis

38 Untitled Haiti Olympic Team Documentary Sam Branson

39 Untitled Ramin Bahrani Gold Documentary Ramin Bahrani

40 We Are Many Amir Amirani

41 What's Going On? Penny Woolcock

42 White Volta Timothy Edzeani Doh

filmmaKer filmmaKerproject project

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no

1 Andrew Putter Creative Africa Network (CAN)

2 Barthélémy Toguo Creative Africa Network (CAN)

3 Brian Jones Creative Africa Network (CAN)

4 EL Loko Creative Africa Network (CAN)

5 Ernest Duku Creative Africa Network (CAN)

6 Godried Donkor Creative Africa Network (CAN)

7 Hasan Essop Creative Africa Network (CAN)

8 Hentie van der Merwe Creative Africa Network (CAN)

9 Husain Essop Creative Africa Network (CAN)

10 Mamela Njamza Creative Africa Network (CAN)

11 Martin Schonberg Creative Africa Network (CAN)

12 Musa Hlatshwayo Creative Africa Network (CAN)

13 Ntombi Gasa Creative Africa Network (CAN)

14 Owanto (Yvette Berger) Creative Africa Network (CAN)

15 Saïdou Dicko Creative Africa Network (CAN)

16 Strijdom van der Merwe Creative Africa Network (CAN)

17 Bill Porter Creative Art Network

18 Kayleigh Gibbons Creative Art Network

19 Max Hattler Creative Art Network

20 Noriko Okaku Creative Art Network

21 Sara Loeve Dadadottir Creative Art Network

22 Tom Gran Creative Art Network

23 Brooke Minto Creative Art Network

24 Alexander Farquharson Creative Caribbean Network (CCN)

25 Alfredo Pacheco Creative Caribbean Network (CCN)

26 André Eugène Creative Caribbean Network (CCN)

27 Francesca Hawkins Creative Caribbean Network (CCN)

28 Gareth Cobran Creative Caribbean Network (CCN)

29 Gregory McPhail Creative Caribbean Network (CCN)

30 Harry Owen Creative Caribbean Network (CCN)

31 Jean Baptiste Guyto Creative Caribbean Network (CCN)

32 Jhon Narvaez Creative Caribbean Network (CCN)

33 Leah Gordon Creative Caribbean Network (CCN)

34 Michael Mooleedhar Creative Caribbean Network (CCN)

35 Nile Saulter Creative Caribbean Network (CCN)

36 Noemi Cruz Creative Caribbean Network (CCN)

37 Patricia Mohammed Creative Caribbean Network (CCN)

38 Pim La Parra Creative Caribbean Network (CCN)

39 Rozanne Vereen Creative Caribbean Network (CCN)

40 Sara Hermann Creative Caribbean Network (CCN)

41 Sarah Manley Creative Caribbean Network (CCN)

42 Stefanie Lopez Creative Caribbean Network (CCN)

43 Thomas Noreille Creative Caribbean Network (CCN)

44 Alison Klayman PUMA.Creative Film Programme

45 Annalet Steenkamp PUMA.Creative Film Programme

46 Felix Wakibia PUMA.Creative Film Programme

47 Howard Gertler PUMA.Creative Film Programme

48 James Smith-Rewse PUMA.Creative Film Programme

49 John Baker PUMA.Creative Film Programme

50 Joshua Sandoval PUMA.Creative Film Programme

51 Lauren Groenewald PUMA.Creative Film Programme

52 Leah Mahan PUMA.Creative Film Programme

53 Nonhlanhla Dlamini PUMA.Creative Film Programme

54 Peggy Mbiyu PUMA.Creative Film Programme

55 Sakhile Dlamini PUMA.Creative Film Programme

56 Tristan Patterson PUMA.Creative Film Programme

57 William Anderson PUMA.Creative Film Programme

type typeartiSt artiStpuma.creative catalySt programThe PUMA.Creative Catalyst Program is an on-the-ground outreach and educa-tional workshop scheme that compliments and supports the PUMA.Creative Catalyst Awards. This year, PUMA.Creative, in part-nership with Channel 4 BRITDOC Founda-tion, held workshops at the Durban Interna-tional Film Festival in Durban, South Africa, with local and international documentary filmmakers, counseling them on the pro-cesses of film funding, production and dis-tribution.

puma.creative mobility aWardSThe PUMA.Creative Mobility Award enables artists, photographers, dancers, filmmak-ers, writers and art professionals to travel internationally for the purposes of doing research, starting or completing a project or participating in an event crucial to their field or project. PUMA supports the travel of cre-ative individuals because our most press-ing environmental and social issues require creative global solutions that are facilitated by intercultural exchange and action.

57 PUMA.Creative Mobility Awards were distributed through the PUMA.Creative Film Program, Creative Africa Network and Cre-ative Caribbean Network.

A PUMA.Creative Mobility Award allowed Alison Klayman to travel to Beijing in Sep-tember 2011 to film and investigate the

2011 PUMA.Creative Mobility Awards

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political controversy around international art star Ai Weiwei, resulting in the film Ai Weiwei: Never Sorry . Haitian visual art-ist André Eugène used his PUMA.Creative Mobility Award to represent his country at the 2011 Venice Biennale. This was Haiti’s first national pavilion at the Venice Biennale, which is the world’s premiere contemporary art event, and PUMA.Creative is proud to have also supported Haiti’s presence there.

puma.creative impact aWardSThe PUMA.Creative Impact Award is a new annual award that identifies and honors the documentary film that has made the most significant and positive social or environ-mental impact. This €50,000 award is the first of its kind in the world and was present-ed to ‘The End of the Line’ on October 11th, 2011 at a gala hosted by news anchor Jon Snow at the Mandarin Oriental in London. The winning film was decided upon by the 2011 PUMA.Creative Impact Award Jury, which was led by Her Majesty Queen Noor of Jordan, and included Morgan Spurlock (Academy Award-nominated Director of ‘Super Size Me’), Orlando Bagwell (Direc-tor of the JustFilms initiative at the Ford Foundation), Loretta Minghella OBE and Emmanuel Jal (musician and activist). The three-dimensional award was designed and produced by New World School of the Arts (NWSA) students through a PUMA.Creative professionalization program.At PUMA we believe that we have a respon-sibility and opportunity to contribute to a better world and a better future, yet positive

change requires action. By recognizing the documentary film that has made the most impact, PUMA can further propel a film that is already making a difference to have a larger positive effect on our society.The very best news and media outlets reported on the event including the BBC, Current TV, The Telegraph, Variety Maga-zine, CNBC, Creative Front, Huffington Post, Fox Network, ID magazine online, Screen International and others. High-level press coverage has allowed the impact of the award to be further amplified, reaching a larger, global audience—spreading the message of both the PUMA.Creative Impact Award and the important environmental message of ‘The End of the Line.’A Special Jury Commendation was also presented to ‘Burma VJ: Reporting from a Closed Country’ for its social impact. As part of the commendation, a €25,000 prize was awarded to the filmmaker and produc-er. ‘Burma VJ’ follows a group of fearless reporters during the 2007 Burmese upris-ings and the ensuing police crack-down.

puma.creative ambaSSador aWardThe PUMA.Creative Ambassadors are advo-cates and experts representing the worlds of film, the arts, academia, social change and journalism. Individuals who have be-come internationally recognized for their contributions in their fields, Isaac Julien, Nandipha Mntambo and Penny Siopus, who joined us in 2011, are asked to represent our cutting-edge initiatives.

At the PUMA.Creative Impact Awards, from left to right, Djimon Hounsou, Kimora Lee Simmons Hounsou, Rupert Murray, Claire Lewis, Jochen Zeitz, Her Majesty Queen Noor of Jordan, George Duffield, Christopher Hird and Charles Clover.

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creative art netWorK

The Creative Art Network is both a live and a virtual platform with global reach, con-necting the creative world within and out-side the continents or regions of Africa, the Caribbean and South America giving vis-ibility to the talents working in architecture, dance, design, fashion, film, fine art, litera-ture, music, new media, performing arts and photography. PUMA initiated the Crea-tive Art Network and it continues our con-viction that immense creative talent exists throughout the world and has the power to make the world a safer, more peaceful and more creative place. We are excited to help facilitate this.Both the Creative Africa Network (CAN) and Creative Caribbean Network (CCN) have fast established themselves as the primary go to place for cultural information in their regions, with 3,260 artists as contributing members on the Creative Africa Network and 1,209 artists as contributing members on the Creative Caribbean Network. The Creative South America Network (CSAN) is now live with membership and content development in process and will formally launch in the first quarter of 2012.

9 of the African National football team players with their corresponding Creative Africa Network artist.

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The Creative Asia Network is beginning development and will roll out in the third quarter of 2012.4 PUMA.Creative Mobility Awards were pro-vided to foremost film directors and schol-ars, via the Creative Caribbean Network (CCN), to present and discuss their work at the Caribbean Studies Association 36th Annual Conference in Curacao. This annual conference is the Caribbean’s leading forum for the study of the region.On November 7th, PUMA revealed the 2012 technical football kits for PUMA’s ten part-nered African National football teams. The kits were designed by ten Creative Africa Network (CAN) artists from their corre-sponding nations, using inspiration from the visual and cultural motifs of their country to develop the jerseys. This collaboration was accompanied by the month-long exhibition, ‘Interpretations of Africa: Football, Art and Design’ at the Design Museum in London, which showcased the artists’ design process to 9,856 visitors. Press coverage included BBC, Sky Sports, The Guardian, The Inde-pendent, Mail Online and many others. PUMA.Creative, in partnership with the Institute of International Visual Arts (Iniva), presented a panel discussion at the Design Museum, London on November 8th with the artists participating in the ‘Interpretations of Africa: Football, Art and Design’ exhibi-tion. PUMA’s partnership with Iniva on this event, an organization dedicated to provid-ing a platform for a diverse range of voices to contribute to and be heard in the visual arts, was an excellent fit with PUMA’s belief

in the talent of the ten Creative Africa Net-work (CAN) artists. David A. Bailey, a writer and curator on African diaspora art, moder-ated this discussion, which engaged issues of identity and language as well as the expe-rience of designing PUMA’s ten partnered African National football team kits. The dis-cussion was recorded and will be available in digital format to the public.

African National football team jerseys

on display at the Design Museum, London,

with Samba Fall’s Senegalese Kit in

the forefront.

NAMIBIA

designed by

van der Merwe

SOUTH AFRICA

designed by

Hasan and Husain Essop

CAMEROON

designed by

Barthélémy Toguo

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marmo SaveS our SeaSThis year PUMA.Creative published ‘Marmo Saves Our Seas’, a children’s book that uses the platform of the Volvo Ocean Race to educate youth about ocean preservation. Available in seven languages, it debuted in Alicante, Spain. ‘Mar-mo Saves Our Seas’ expands PUMA’s continued efforts to educate the public about the importance of marine issues, habitats and sea creatures. This project was used by the regional marketing team in Cape Town, South Africa in events at the Two Oceans Aquarium and the V&A Waterfront where children heard about Marmo and learned about ocean preservation.

A new cut of the film HOME by Yann Arthus Bertrand entitled ‘HOME OCEANS’ was crea-ted for the Volvo Ocean Race and is available in seven languages for use by all port cities and by regional marketing teams. Like the ‘Marmo Saves Our Seas’ children’s book but reaching an adult audience, ‘HOME OCEANS’ is a tool used to educate the public about the oceans, the challenges they face and

Demonstrating PUMA’s belief in voluntee-rism, PUMAVision director Mark Coetzee spent his vacation mentoring New World School of the Arts (NWSA) students in Ber-lin, Germany. NWSA is a public University in Miami, USA that PUMA.Creative partners with in running a design professionalization program for local students, and which regu-larly engages with the Creative Caribbean

volunteeriSm

home oceanSwhat they can do about it. ‘HOME OCEANS’ screened at the South African Museum and the V&A Waterfront Amphitheatre, both in Cape Town, South Africa, and concurrent to the Volvo Ocean Race’s stop in the city. Approximately 1400 museum visitors and the majority of the 1,828,600 visitors that pass through V&A Waterfront each month were exposed to this film.

Network and PUMA.Creative’s partnering institution, The Bass Museum of Art (Mia-mi, USA). The three-dimensional award for the 2011 PUMA.Creative Impact Award was designed and produced by NWSA students through this professionalization program, which prepares students for a successful career as future designers while providing PUMA with innovative design solutions.

‘Marmo Saves Our Seas’ being read to local school children in Cape Town, South Africa

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independent aSSurance report

to puma Se, herZogenaurachWe have been engaged to perform a limi-ted assurance engagement on corporate responsibility (CR) information presented in the chapters ‘PUMAVision‘, ‘PUMA.Safe‘, ‘PUMA.Peace‘ and ‘PUMA.Creative‘ of the annual report 2011 of PUMA SE, Herzogen-aurach, for the financial year 2011 (the „An-nual Report“).

management‘S reSponSibility The management board of PUMA SE is res-ponsible for the preparation of the chapters ‘PUMAVision‘, ‘PUMA.Safe‘, ‘PUMA.Peace‘ and ‘PUMA.Creative‘ of the Annual Report in accordance with the criteria stated in the Sustainability Reporting Guidelines Vol. 3 (pp. 7-17) of the Global Reporting Initiative (GRI):

> Materialit y,> stakeholder Inclusiveness,> sustainabilit y contex t ,> completeness,> balance,> clarit y,> Accuracy,> T imeliness,> comparabilit y and> Reliabilit y.

This responsibility includes the selection and application of appropriate methods to prepare the chapters ‘PUMAVision‘, ‘PUMA.Safe‘, ‘PUMA.Peace‘ and ‘PUMA.Creative‘ of the Annual Report and the use of assump-tions and estimates for individual sustaina-bility disclosures which are reasonable in the circumstances. Furthermore, the res-ponsibility includes designing, implemen-

ting and maintaining systems and processes relevant for the preparation of the chapters ‘PUMAVision‘, ‘PUMA.Safe‘, ‘PUMA.Peace‘ and ‘PUMA.Creative‘ of the Annual Report.

practitioner‘S reSponSibilityOur responsibility is to express a conclusion based on our work performed as to whether any matters have come to our attention that cause us to believe that the CR informati-on for the financial year 2011 presented in the above mentioned chapters of the Annual Report have not been prepared, in all mate-rial respects, in accordance with the above mentioned criteria of the Sustainability Re-porting Guidelines Vol. 3 of the GRI. We also have been engaged to make recommenda-tions for the further development of the CR management and reporting based on the results of our limited assurance engage-

ment.We conducted our work in accordance with the International Standard on Assurance Engagements (ISAE) 3000. This standard requires that we comply with ethical requi-rements and plan and perform the assu-rance engagement, under consideration of materiality, to express our conclusion with limited assurance.In a limited assurance engagement the evi-dencegathering procedures are more limi-ted than for a reasonable assurance enga-gement (for example, an audit of financial statements in accordance with section 317 HGB (Handelsgesetzbuch: German Com-mercial Code)), and therefore less assu-rance is obtained than in a reasonable as-surance engagement.

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The procedures selected depend on the practitioner‘s judgement. Within the scope of our work we performed among others the following procedures:

> Inspection of documents regarding the CR strategy, the CR program, the CR management and stakeholder dialog;> Participation in the annual stakeholder dialog in Banz, November 21 to 23, 2011;> Inquiries of personnel located in the cen-tral functions responsible for the prepara-tion of the chapters ‘PUMAVision‘, ‘PUMA.Safe‘, ‘PUMA.Peace‘ and ‘PUMA.Creative‘ regarding the processes used to gather and consolidate CR information and related control procedures;> Inspection of the documentation of sys-tems and processes used for gathering, analysing and aggregating CR data as well as retracing on a sample basis;> Site visit as part of the inspection of pro-cesses used for gathering, analysing and aggregating CR data:

> in the corporate headquarters as well as> PUMA North America Inc. in Westford, MA (U.S.A.);

> Telephone inquiries with personnel loca-ted in UK, Japan, Canada and Russia res-ponsible for the collection (‘National Eco Champions‘) and validation (‘Validator 1‘) of environmental data regarding gathering, analyzing and aggregating selected envi-ronmental indicators for UK, Japan, Canada and Russia;> Substantive testing on selected informa-

tion on a sample basis, among others by the inspection of internal documents, contracts, reports of external service providers and invoices as well as by the analysis of reports generated from IT systems;

concluSionBased on our limited assurance engage-ment nothing has come to our attention that causes us to believe that the CR informa-tion presented in the chapters ‘PUMAVisi-on‘, ‘PUMA.Safe‘, ‘PUMA.Peace‘ and ‘PUMA.Creative‘ of the annual report 2011 of PUMA SE, Herzogenaurach, for the financial year 2011 has not been prepared, in all material respects, in accordance with the criteria of the Sustainability Reporting Guidelines Vol. 3 (pp. 7-17) of the GRI.

emphaSiS of matter – recommendationSWithout qualifying our conclusion, we make the following recommendations for the further development of CR management and CR reporting:

> Further implementation of corporate policies and procedures regarding the data collection and validation procedures as well as documentation requirements to further improve data quality;> Further implementation of standardized procedures to allow timely data gathering and validation (‘fast close procedures‘).

frankfur t am Main, March 22, 2012

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